[rollei_list] Re: On-Topic Discussions: Rolleinars

  • From: Allen Zak <azak@xxxxxxxxxxxxxxx>
  • To: rollei_list@xxxxxxxxxxxxx
  • Date: Sat, 23 Jan 2010 17:01:11 -0500


On Jan 23, 2010, at 12:43 PM, Dennis Purdy wrote:

On Jan 23, 2010, at 09:08, Allen Zak wrote:

I regard the #1 to be essential equipment.  It bridges, for me, a critical gap in close focussing.  Of the Rolleinar series, I find the #1 most viable, the others less satisfactory in use because the parallax is too pronounced to predict results with enough accuracy.  Some photographers use them well, but I have a hunch that except for controlled studio situations, serendipity often plays a role in results.

Over decades and after many iterations, my essential Rollei gear evolved to: camera (one only), neck strap, lens hood, light meter, small flash, medium yellow filter, Rolleinar #1, Rolleifix, film, all packed into a LowePro Minimag camera bag.  Other Rollei accessories come along as needed, but this is my basic, out-the-door outfit that I have carried 20+ years.

Allen Zak


I think perhaps Rollei considered cropping a viable tool.  Certainly the lenses are sharp enough.  Unless you are making very large prints you can get from cropping what you get from using a number 1.  I personally seem psychologically unable to crop in camera or print but it would solve a lot of problems if I did.  Also would help to overcome boredom with the square picture.  
   I am off in a couple days for over 2 weeks shooting in Mexico. I am so tired of square pictures that I almost decided to take the Pentax 67.  But in my (always obsessive) testing I just could not get the image quality of the Pentax lenses to match the Rollei and I figure I can crop from the Rollei negs and probably be better off than using the Pentax.   So it will be the first real work with the 2.8FX and Neopan 400.   I am going to try to think in camera of cropping.  Probably won't work.
Dennis

From the start (1954) I have regarded the Rollei square view more a starting point than as a compositional imperative. I frequently compose with vertical or horizontal images intended to be cropped for the print. One of the things I like most about working with a square format is that it allows, among other compositional choices, a limited rise, fall and shift by placing a subject on the upper, lower or side of the frame. Of course, the square itself is perfect for many compositions. Rectangular formats are fine, but the square allows a certain freedom of placement lacking in the others. I find that 35 mm, 6X9, 6X7 and such all nudge me to compose in those formats, while the square provides me with no such constraints. But that's just my personal take on the matter.

Allen Zak

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